Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 54Gale Research Company, 1984 |
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Page 144
... characters and the audience . As a result , there is no need for any real development of character in The Comedy of Errors , since the action derives less from what the characters do than from what the playwright does to them . At times ...
... characters and the audience . As a result , there is no need for any real development of character in The Comedy of Errors , since the action derives less from what the characters do than from what the playwright does to them . At times ...
Page 145
... characters , of course , have no such knowledge . They do not know they are characters in a farce ; nor are they granted the divine overview offered to the audience , so they continually try to make logical sense out of the confused ...
... characters , of course , have no such knowledge . They do not know they are characters in a farce ; nor are they granted the divine overview offered to the audience , so they continually try to make logical sense out of the confused ...
Page 190
... characters capable of magical action , when Antipholus of Syracuse enters Ephesus and confusion begins , the town suddenly appears fantastical . By not removing the play's action to a magical island or forest , Shakespeare stresses the ...
... characters capable of magical action , when Antipholus of Syracuse enters Ephesus and confusion begins , the town suddenly appears fantastical . By not removing the play's action to a magical island or forest , Shakespeare stresses the ...
Contents
The Comedy of Errors | 136 |
Loves Labours Lost | 225 |
The Two Gentlemen of Verona | 295 |
Copyright | |
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action Adriana Antipholus of Ephesus Antipholus of Syracuse Antony argues Armado audience become beginning Berowne Berowne's characters Claudius Cleopatra closure Comedy of Errors comic conventional Cordelia Costard courtiers critics death dramatic Dromio Duke Edgar Egeon Elizabethan ence Ephesians Ephesus epilogue fact farce father figure final scene friendship Gentlemen of Verona Hamlet hath hero human husband identity Julia King Lear ladies language Launce Lear's lines London lords Love's Labour's Lost lovers Luciana Macbeth marriage Measure for Measure Menaechmi ment Merchant of Venice Midsummer Night's Dream mimetic nature Navarre opening scene Othello perspective play play's playwright plot Princess Proteus relationship Renaissance rhetorical role romantic Romeo and Juliet Rosaline says seems sense sexual Shake Shakespeare Shakespeare's Comedies Shrew Silvia social songs speech stage story suggests theatrical thee thematic theme thou tion tragedy tragic Twelfth Night twins Valentine Valentine's wife words